ArtScience Cinema is the museum’s latest screening space with specially-curated films all year round.
ART SG FILM: EMBODIED PRESENCES
18 – 21 Jan
SCREENING
ART SG FILM: EMBODIED PRESENCES
ART SG FILM: EMBODIED PRESENCES features a selection of artists’ video and film works from Southeast Asia and beyond selected by curator Sam I-shan.
This selection of artist films and video art is centred around the body in all its perceiving and expressive capacities, material realities and mythic imaginaries. Nineteen moving image works by seventeen international artists are presented across three themed compilations of short films, and a special feature-length presentation. In Movement in Space, the performing body is depicted charting social spaces, exploring relationality, and demonstrating psychological states. The films in Voice and Being assert the lived experiences of human and non-human subjects through testimony of speech and gesture. The works in The Worldly and Otherworldly crisscross between the earthly and spiritual realms, from the pervasive media environments of contemporary living, to the sensory, spectral visions of folktales and rituals. The program concludes with Future Shock, a dystopic, dream-like tale of the last human on the planet.
Curated by Sam I-shan
Total Running Time: 256min 3sec
For more information on the individual video works, please visit: https://artsg.com/film/
Image caption:
Film still from Future Shock: The End of Eternity by Su Hui-Yu, 2023, courtesy of the artist and Chi-Wen Gallery
18 – 21 Jan
Various showtimes
Free Admission, first-come-first-served basis, subject to venue capacity
EMBODIED PRESENCES
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Movement in Space
Running Time – 62min 22sec
18 – 21 Jan
Daily screening: 11am
The films in this program reflect the centrality of the body in performance, political and personal works. The performing body might represent individuality, identity and corporeality, while serving as metaphor for communities, states and societies. The subduing or regulation of such a body politic is suggested by the performances in Tanatchai Bandasak’s and Jason Wee’s works. The former depicts the methodical action of grass-trimming in a historical site of political crisis, while the latter focuses on the artist dancing alone under a highway as ambiguous poetic texts about expectation, desire and social control unfurl across his form. The performers in Tsubasa Kato’s and Markus Schinwald’s works engage in choreographies of attraction and repulsion. Respectively, they demonstrate the tension between autonomy and dependency, and the struggles of bridging intrinsic differences. This sense of relation to an other is also key in Shinobu Soejima’s stop-motion animation, which externalises upon its battling characters the complex moral stakes of human nature and the impossibility of escaping cycles of violence. In Hou I-Ting and Yeo Siew Hua’s works, the setting becomes a key player. For Hou, the figure acts as mediator and scale for her perspectival experiments in urban distortion. In Yeo’s film, an abandoned institution seems to surreally transform itself into a stage for its characters, as they use dance and movement to express the mutable yet rigid nature of family dynamics, and ask whether any person can be completely knowable.
Tanatchai Bandasak
////////, 2019
16mm film transferred to digital video
2min 39sec
Courtesy of the Artist
Rated G
Tsubasa Kato
Woodstock 2017, 2017
Single-channel video, colour, sound
4min 7sec
Courtesy the artist, Mujinto Production and Chi-Wen Gallery
Rated PG
Jason Wee
Awkward, 2022
Single-channel video
5min 28sec
Courtesy of the artist, Kochi-Muziris Biennale and Yavuz Gallery
Rated G
Hou I-Ting
Neither of Us: The Relation of Non-Territory (Part 1), 2013
Single channel video
2min 9sec
Courtesy of Hou I-Ting (TKG+)
Rated PG
Shinobu Soejima
Blink in the Desert, 2021
Stop-motion animation
10min 32sec
©Shinobu Soejima, courtesy of ART FRONT GALLERY
Rated PG
Markus Schinwald
1st Part Conditional, 2004
35mm/ Digital Betacam
3min
©Markus Schinwald. All Rights Reserved.
Rated PG
Yeo Siew Hua
The Wandering, 2022
Video
34min 27sec
Courtesy of Yeo Siew Hua
Rated PG
Image caption:
Film still from The Wandering by Yeo Siew Hua, 2020, courtesy of the artist
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Voice and Being
Running Time – 66min 42sec
18 – 21 Jan
Daily screening: 12.30pm
Each of the works in this program possess distinct narrative voices that centre attention on their respective stories and experiences. While their subjects may be dislocated, or even disempowered by both choice and circumstance, they continually navigate and maintain their sense of place and right to existence. Personal histories come to the fore in Hsu Chia-Wei and Jun Nguyen-Hatsushiba’s experimental documentaries, as the main characters come to terms with displacements emerging from regional conflict and global wars. Hu Ching-Chuan’s and Yin Yin Wong’s films likewise feature émigré family members, giving prominence to their voices as they assert and adjust their presences in the new worlds that they now inhabit. Eugenia Lim and Heather Dewey-Hagborg’s works consider the politics of human capital and animal domestication through inventive use of dance, movement and music. A mysterious non-human presence gives utterance in Tanatchai Bandasak’s work, forming a poetic coda of light and sound for this compilation of multifarious testimonies.
Hsu Chia-Wei
Huai Mo Village, 2012
Single-channel video, colour, sound
8min 20sec
Courtesy the artist, LIANG Gallery and Chi-Wen Gallery
Rated PG
Jun Nguyen-Hatsushiba
Utsusu, 2021
Single channel digital video
5min
Courtesy of the artist and Mizuma Art Gallery, Tokyo
Hu Ching-Chuan
That ‧ This, 2018
Single-channel video, 3D scan, colour, sound
6min 37sec
Courtesy the artist and Chi-Wen Gallery
Rated PG
Yin Yin Wong
Lotus Flowers, 2022
Short film, wall projection
8min 45sec
Courtesy of Yin Yin Wong
Rated PG
Eugenia Lim
ON DEMAND, 2019
Single-channel video
14min
Courtesy of the artist and STATION
Rated PG
Heather Dewey-Hagborg
Hybrid: an Interspecies opera, 2022
Single channel film
20min
Courtesy of Heather Dewey-Hagborg & Fridman Gallery
Rated PG
Tanatchai Bandasak
Air Cowboy, 2010
Mini DV transferred to Digital Video
3min
Courtesy of the Artist
Rated G
Image caption:
Film still from Air Cowboy by Tanatchai Bandasak, 2010, courtesy of the artist and BANGKOK CITYCITY GALLERY
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The Worldly and Otherworldly
Running Time – 64min 59sec
18 – 21 Jan
Daily screening: 2pm
The works in this program are layered representations of the image-saturated, iconographically-rich visual landscapes of contemporary Asia. Originally created for a 1972 performance by musician Charlotte Moorman, Nam June Paik and Jud Yalkut’s remix of Japanese television commercials is a playful retort to the materialistic urges of consumerist living. Chulayarnnon Siriphol’s digital animation combines newspaper collages with invented characters, forming a counter-narrative to the glut of competing messages and motives found in state media and algorithmically-driven social media platforms. Both Yeo Siew Hua and Korakrit Arunanondchai’s works evoke the powerful presence of the non-human in nature, in particular animals and spirits. Adapting folklore and creating new myths, their films use primal and preternatural forces to depict, as well as critique the recursive violence of environmental destruction and political corruption.
Nam June Paik & Jud Yalkut
Waiting for Commercials, 1966-72, 1992
16mm film on video
6min 41sec
Courtesy of Electronic Arts Intermix (EAI), New York
Chulayarnnon Siriphol
Give Us A Little More Time, 2020
Single channel HD video
12min
Courtesy of the Artist and BANGKOK CITYCITY GALLERY
Rated PG13
Yeo Siew Hua
An Invocation to the Earth, 2020
Video
16min
Courtesy of Yeo Siew Hua
Rated PG
Korakrit Arunanondchai
Songs for Dying, 2021
HD video
30min 18sec
Co-commissioned by the 13th Gwangju Biennale, Han Nefkens Foundation and Kunsthall Trondheim. Courtesy Korakrit Arunanondchai, BANGKOK CITYCITY GALLERY, Bangkok, Carlos/Ishikawa, London, C L E A R I N G New York / Brussels.
Rated PG13
Image caption:
Film still from Give Us a Little More Time by Chulayarnnon Siriphol, 2020, courtesy of the artist and BANGKOK CITYCITY GALLERY
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Future Shock
Running Time – 62min
18 – 21 Jan
Daily screening: 3.30pm
Published in 1972, Alvin Toffler’s Future Shock analysed how rapid technological change transforms industrial societies to post-industrial conditions, causing alienation, dislocation and even chaos. Future Shock: The End of Eternity is Su Hui-Yu’s first feature-length film. A follow-up work to his 2019 video installation Future Shock, it premiered at the 2023 Golden Horse Film Festival. The narrative loosely follows A (Wu Ke-Xi), the last person on the planet and X (Nick Van Halderen), who is at once a god, demon, or cybernetic entity, as they take a road trip to discover the future from the remains of the past. Told in ten chapters, and shot in various unusual and spectacular sites around Taiwan, this work flits between dread and delirium over the ever-evolving future.
Su Hui-Yu
Future Shock: The End of Eternity, 2023
Single-channel video, DCP, Colour / B&W
62min
Courtesy the artist and Chi-Wen Gallery
Rated NC16
Image caption:
Film still from Future Shock: The End of Eternity by Su Hui-Yu, 2023, courtesy of the artist and Chi-Wen Gallery
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